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Thursday, May 25, 2006

Yesterday, I thought that it would be interesting to capture a sequence of photos documenting me working on a new painting. If nothing else, the pics will give a glimpse into how much a painting can change in a short amount of time. These photos were taken over a period of about a half-hour, maybe a little more. I used a 10-second delay to take the pics. The images are a little skewed because I sat the camera on an uneven surface, but I think they came out pretty well.

This is one of two new paintings I'm working on. It's 48" x 72" and is presently untitled. The rest of the set can be seen on my Flickr page

Thursday, May 04, 2006

I'm definitely back in the swing of things in the studio. Taking time off was good, but it's nice to be acting on some of the ideas that have been gestating for the past few months. Being out of my regular studio practice for almost 6 months was a little disconcerting to me. I'm used to always working on something, regardless if it wasn't going to leave the studio and be seen or not. I certainly needed to recharge but this was the first time that it was for such an extended amount of time.

What matters is I'm back to doing what I love. I never really left it as I was still thinking and reading about art, as well as doing something here and there. The difference is now I'm in there more and thus, doing more. Yesterday was a typical kind of day where I stretched two canvases, both 4 x 6 feet, not huge, but bigger than I've been working on lately. I also worked on several mixed media pieces on paper and started painting a couple of small canvases (16" x 20").

I went like this from around 3 in the afternoon until almost 10pm. I wasn't really ready to leave when I did but I needed to send out an email the latest exhibition I have work in beginning this Friday. This Friday is 'First Friday' in Philly and I have two paintings in a group exhibition titled, "Order(ed)" at Gallery Siano located at 309 Arch Street.

Also, if you haven't already, check out the new (May) edition of Philadelphia Magazine. The cover story is 'Top Doctors'. I'm featured in an article on the Philly art scene called, 'The Philly School', along with Rebecca Rutstein, Randall Sellers, Rob Matthews, and more. It should be on the newstands now. On the magazine's website, there's a link to more details on the artists featured. I left the studio with several projects scattered around and I'm looking forward to tackling them again today.

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Being chosen to be in the Philadelphia Magazine article, "The Philly School" was a nice boost. It turned out better than expected as I'm featured in a full-page photo, along with fellow gallery-mate, Rebecca Rutstein.

The amount of exposure I've been able to get for my work since I've been with the Bridgette Mayer Gallery has been nothing short of amazing. Granted, I've worked my ass off for years before to get to this point and will continue to in order to get further, but the public successes I've had over the past four years have definitely been in large part to Bridgette's backing and tireless efforts.

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I stumbled onto this link in one of the MySpace art groups and thought I'd spread it around a little. I like Ellis G's idea of recording the nighttime shadows of street objects and people seeing them during the day trying to figure out what the outlines are about, since there's no discernable way to connect the outline with daytime shadow patterns.

Ellis G takes street art and elevates it to a new level with ideas of transience and how we view objects in public space. He outlines any number of objects, permanent and not so, in sidewalk chalk with the help of street lamps. In the video, you see him outlining street posts, hydrants, mailboxes, there's even a motorcyle's shadow outlined. Some of the shadows, when seen in the daytime, confuse passers-by because they might be the result of two street lights hitting, say, a fire hydrant, casting two shadows from the same object.

The outlines are also confusing to some because we relate to shadows as being impermant and moving, but how often do we pay attention to them at night? How often do we pay attention to them during the day, even? The other part of the question of transience is the impermanence of some of the objects that Ellis G outlines. The motorcycle example is an obvious one, but what about the other things? Eventually, sign posts are replaced or simply taken down. Some of the shadow outlines are extended onto bulidings and stoops, which over time will change or be torn down.

So, there's the issue of short term vs. long term permanence. Then, there's the awareness brought out to the viewer about the spaces we inhabit and use on a regular basis. Walking down the street and encountering an extended outline of an object will most likely get people to stop and examine their surroundings a little more, and our relationship to that space, which I think the best public art does.

The best part of the video is watching as cops come by ready to bust him for graphitti but backing off when he explains that he's not using paint, but impermanent street chalk which will wash away eventually. Check it out when you get a moment...